Continuous Exposition and Tonal Structure in Three Late Haydn Works

Suurpää, Lauri

doi:10.1525/mts.1999.21.2.02a00020

Cited by 28 publications

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“…1, p. 23), Konold ([1980] , p. 104), Schneider (, vol. 1, p. 139), Steinberg (, p. 160) again by implication and Suurpää (, pp. 195–6).…”

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confidence: 97%

Sonata Form and the Problem of Second‐Theme Beginnings

Richards¹

2013

Music Analysis

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Although the second theme (ST) group is a crucial landmark in Classical sonata form, where it is usually articulated with great clarity, in many instances its beginning cannot be so easily discerned, especially in Beethoven. The problem is that no matter how powerful a single rule may be, none by itself can identify all those locations which may be considered an ST beginning. This article therefore proposes that an ST beginning depends on the presence of several musical signals, each of which contributes to its expression. These include: (1) tonic harmony of the new key, (2) beginning and end functions in the manner of one of Caplin's theme types, (3) preparation by a phrase‐ending chord, (4) the textural gap of Hepokoski and Darcy's medial caesura (MC) and, at the ST beginning itself, (5) a change in texture, (6) a change in dynamic and (7) characteristic melodic material. A sonata deformation in any of the first three signals sets off a teleological ST process, which attempts to compensate for the deficiencies of the signal. By contrast, the deformation of an absent MC gap can produce an integrated ST or, if combined with an absent preparatory chord, a spontaneous ST.

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“…1, p. 23), Konold ([1980] , p. 104), Schneider (, vol. 1, p. 139), Steinberg (, p. 160) again by implication and Suurpää (, pp. 195–6).…”

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confidence: 97%

Sonata Form and the Problem of Second‐Theme Beginnings

Richards¹

2013

Music Analysis

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“…52-60) concentrate on works by Haydn, the sole exceptions being a brief mention of one symphony by Giovanni Battista Sammartini and a general reference to the sonatas of C. P. E. Bach. In an earlier work I examined interactions between tonal structure and continuous expositional organisation in Haydn's late expositions (Suurpää 1999). Nathan John Martin (2014) also takes his examples from Haydn in his discussion of the legacy of Larsen's three-part division of the exposition and its relationship to the continuous exposition and form-functional theory.…”

Section: Introductionmentioning

confidence: 99%

“…The second aspect that characterises the literature on continuous expositions is the exclusive concentration on fast movements, either first movements or finales. The studies mentioned above (Hepokoski and Darcy 1997and 2006, Larsen [1963 1988, Martin 2014, Rosen 1988, Smith 2014, Suurpää 1999and Webster 1991a) do not discuss one single slow movement that would fall within the continuous or three-part framework. This essay deviates from these studies in two respects: (1) it examines works by Wolfgang Amadeus Mozart, and (2) it concentrates on slow movements.…”

Section: Introductionmentioning

confidence: 99%

Continuous Exposition in Mozart's Slow Chamber‐Music Movements

Suurpää¹

2022

Music Analysis

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The literature on continuous exposition is characterised by two features: (1) concentration on the music of Haydn and (2) the examination of fast movements. This essay deviates from these starting points by examining Mozart's slow movements. The aim is to give close readings of a small number of works taken from a limited corpus rather than to provide an overview of Mozart's slow continuous expositions. The works concerned are the slow movements of three‐ and four‐movement chamber‐music works composed after 1775. Of the 42 slow movements in this corpus there are three with a continuous exposition: Larghetto from the Quintet for Piano and Winds, K. 452 (1784), Larghetto from the Quintet for Clarinet and Strings, K. 581 (1789), and Adagio from the String Quintet, K. 593 (1790). These expositions are analysed, and each of them is paired with another exposition from Mozart's slow chamber‐music works that features elements leading in K. 452, K. 581 and K. 593 to continuous organisation. The similarities notwithstanding, these expositions are interpreted as two‐part.

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The String Quartets of Joseph Haydn

Grave¹,

Grave²

2006

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Encompassing sixty-eight works composed over a span of more than four decades, Haydn's quartet oeuvre contributed to the establishment, solidification, and refinement of late 18th-century chamber-music practices, notably by furnishing superlative models of idiomatic ensemble technique (involving textural diversity and continuous change in relationship among the instruments), style (highlighting the play of formal conventions and musical customs associated with folk music, popular dance, opera, concerto, and other genres), and compositional process (featuring motivic elaboration, harmonic novelty, and narrative intrigue). Conventions Haydn adapted for quartet use include those of sonata form, the minuet-trio complex, variation, rondo, and fugue. In addition, he established norms of his own for the sequence of movements in a quartet and for the design of the opus groups, each of which encompasses a particular constellation of variety and consistency in form, style, and ensemble technique. Examination of the opus groups reveals insights into the circumstances under which they were written, the musical resources on which they drew, their innovations, their points of connection with other opus groups, their manifestations of both change and continuity in outlook and style, and their reflections of Haydn's artistic personality — in particular his penchant for novelty in sonority, theme, metrical play, phraseology, and large-scale structure; his gift for musical irony in drawing connections between seemingly unrelated ideas; and his irrepressible musical wit and humor, typically involving strokes of surprise, thwarted expectation, and the whimsical juxtaposition of incongruous elements.

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Continuous Exposition and Tonal Structure in Three Late Haydn Works

Cited by 28 publications

References 0 publications

Sonata Form and the Problem of Second‐Theme Beginnings

Sonata Form and the Problem of Second‐Theme Beginnings

Continuous Exposition in Mozart's Slow Chamber‐Music Movements

The String Quartets of Joseph Haydn

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